Ian Brown is Emeritus Professor in Drama at Kingston University and Honorary Senior Research Fellow in Scottish Literature at Glasgow University. He is the General Editor of The Edinburgh History of Scottish Literature (EUP: 2007) and widely published on aspects of theatre and literature. He is also a playwright and poet. Gerard Carruthers is Reader and Head of Department in Scottish Literature at the University of Glasgow. He is General Editor of the forthcoming multi-volume Oxford University Press edition of the works of Robert Burns and is Director of the Centre for Robert Burns Studies. He is also the author of Robert Burns (Northcote, 2006), editor of The Devil to Stage: Five Plays by James Bridie (ASLS, 2007), Burns: Poems (Everyman, 2006) and co-editor of Beyond Scotland: New International Contexts for Twentieth-Century Scottish Literature (Rodopi, 2004), Walter Scott's Reliquiae Trotcosienses (Edinburgh University Press, 2004) and English Romanticism and the Celtic World (Cambridge University Press, 2003).

• The Performance of BurnsIan Brown and Gerard CarruthersPerformance and Print in Editions of Robert Burns in the Eighteenth and Nineteenth CenturiesJohn Burnett and Gerard CarruthersRobert Burns and TheatreJim Davis with Tracy CattellBurns and Music HallPaul Maloney‘To our tale’: ‘Tam o’ Shanter’ on stagePaul Maloney and Adrienne Scullion‘O what a glorious sight’: Performing Identity and the Burns SupperRonnie YoungBurns, Public Ceremonial and Civic Scotland, c.1796-c.1914Christopher WhatleyRobert Burns on the Twentieth-Century StageRhona BrownBurns and FilmAlistair BraidwoodOrchestral Manoeuvres: Burns on the Concert Platform 1879-1959Kirsteen McCue,Enactments and Representations of the National Bard: Burns and the Folk ContextKatherine Campbell‘Frae my ain countrie’: Robert Burns in the archive of Jean RedpathMoira HansenPerforming the work of Robert BurnsSheena WellingtonNotes on ContributorsIndex

Reading the essays together amply demonstrates the diverse ways in which Burns's poems and songs have been reimagined in performance since the eighteenth century, from the folkloric to the operatic, the national to the global. [...] Appealing to Burns scholars, the essays will be of interest to anyone interested in authorship and adaptation, performance and legacies of any hue.